Elena Ab Gallery at 185 Church Street in Tribeca presents a retrospective show spanning three decades of Linus Coraggio’s abstract and representational sculpture. Coraggio, a New York City native, is one of the pioneers of the early 1980s downtown street art movement; the magazine Art In America has credited him with inventing a genre of street art called “3-D Graffiti.”

Coraggio has exhibited both in the US and abroad, including projects in Japan, Scandinavia, Austria and a 2016 commission in France.

He founded the erstwhile art space/performance venue Gas Station (also known as Space 2B for its location at Ave. B & E 2^nd St.), and is a co-founder of the “Rivington School” art movement—both seminal downtown epicenters of art activity and sprawling sculptural installation in the 1980s and 1990s.

The show includes paintings, woodcut prints and sculptural furniture.

It opens at 6:00 PM on Friday, May 15, 2015 (opening gala ’til 9:00 PM) and runs through June 30, 2015.

The gallery hours are Mondays: 1:00–4:00 pm; Tuesdays–Sundays: 12 noon–8:00 pm; and by appointment: (917) 691-5647.

October is a busy month for Linus Coraggio, with pieces on exhibit in three shows in New York City.

Click the images below for more info

“New York Paris Dream” is an upcoming four-person show at the Elena Ab Gallery.

Opening this Friday, October 17, it features a young French painter and Coraggio as the only sculptor. Linus will have several new abstract sculptures in the show as well as a new outdoor exhibit in front of the gallery: a sculptural bench and chair. These two outdoor furniture pieces will be on 24-hour display at the gallery indefinitely.

Sculpture by Linus Coraggio will be featured in “Metaglyphic”, an exhibition presented by The Elena Ab Gallery, 185 Church Street in New York City (TriBeCa).

The exhibition will be open to the public from June 26–Aug 17, 2014, with an opening reception on Thursday, June 26, 7:00–9:00 pm.

From the gallery's press release about the exhibition:

Scrap-art master Coraggio creates symbolic structures in steel and other debris, where welded elements (tools, utensils and other welded artifacts) also form a personal language and function as compelling visual tropes within the larger forms; sometimes these symbols are obvious, such as the hammer in the “Soviet chair” sculpture, and other times more obliquely evocative as in the welded screens with concentric loops that echo [Ken] Hiratsuka’s spirals and megalithic rock art.

To read the entire press release, click here.